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"Any Day Now" goes to Tribeca

Read a more detailed verison of this article at THE POST LAB.

Director Travis Fine debuted his 2010 feature The Space Between at the Tribeca Film Festival, and is now back with his second feature, Any Day Now, which plays at Tribeca April 26, 27, and 28th.  


Click here for information on the screenings.

Click here for an interview with director Travis Fine.

Any Day Now stars Alan Cumming and Garret Dillahunt as a couple who take on the foster care of a neglected down-syndrome boy from the building.  When it's revealed that they are in a relationship, the court system rips the boy from them, which leads to a legal battle for their right as a loving household to care for this child that they love.

Local Hero Post was proud to have done the DI for The Space Between, and was thrilled to be back for the DI of Any Day Now.  Local Hero put Assimilate's Scratch system through its paces to handle all of the needs of the film, at a budget the production could afford.  Both films were shot with the Red Camera, though Any Day Now used the MX sensor and Local Hero took advantage of updated colorimitry settings from Red to work with the footage in linear space.    

The challenge of the film was to evoke a sense of the era.  The story takes place in the 1970s, a decade where we also had powerful dramatic films with a specific look, such as Dog Day Afternoon.  As with any production, the heavy lifting in the creation of look is done onset.  DP Rachel Morrison took the edge off the RED's sharpness by choosing old coated Ultra-prime lenses made in the 70's, and worked with production design and wardrobe departments to ensure a cohesive look was achieved.  The filmmakers worked with colorist Leandro Marini to carry that look to the finish line in post.  Marini developed a specific process in which the blacks were crushed and then lifted, in order to give the images the low-contrast look of films from the time.  The film has a strark contrast between the colorful, saturated world of Alan Cummings's character's job singing and dancing in a night club, versus the desaturated, sepia outside world that harshly judges his lifestyle.  As a last touch, Marini also did a pass of the film in which he mixed in artificial film grain to the image.

Local Hero also put together the minor visual effects for the project, which are invisible to the story.  They involve realistic manipulation of the footage in order to achieve the perfect performance.  Editor Tom Cross has a keen eye for how to match the timing of elements within the shot to smooth out a scene-- splitting the screen between two characters and combining two sides into one seamless handheld shot.  Other clean-ups were done during the DI sessions, where Marini can composite pieces on the fly to cover visual distractions in the footage.


Projects come and go through a post production facility, but occasionally a film will inspire us with its quality and powerful story-telling.  Any Day Now is certainly one of those.  We recommend you get out to see it.


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